National Palace Museum (國立故宮博物院) – The Treasure Trove of Chinese Culture
The National Palace Museum (國立故宮博物院) was originally founded within the walls of the Beijing Forbidden City in 1925, the present-day National Palace Museum moved to Taipei’s Shilin District following the Republic of China government relocation in 1949 with an official opening for the public in 1965.
Over 600,000 of the most precious artefacts within the collection were moved to Taiwan to prevent their desecration during and after the Chinese Civil War.
Due to the enormous numbers of collection spreads over 4 floors and 2 exhibition halls, the museum’s exhibits continuously rotate, as only a small percentage of the museum’s collection can be displayed at a given time to prevent wear and tear, so there will always be a new series of collection being exhibited on each visit!
*Those interested in Chinese culture and history are highly encouraged to visit the National Palace Museum, as it hosts the largest number of ancient artefacts, even more than the Forbidden City in Beijing.
Religious Sculptural Arts
Buddhist sculptures arose out of the belief system that produced them. They are derived from the iconography in Buddhist sutras. Buttressed by the popular religious concepts of the time, they aptly convey the spiritual content in which the religion is rooted.
Believers thought that the production of these sculptures would bring about good fortune; practitioners meditated with these images in order to bring about a deeper understanding and wisdom. Religious sermons made use of such profound sculptures to align and intensify the believers’ conception of the Buddhist realm.
Among single Buddhist sculptures, one often finds sculptures of the Buddha, Buddhist monks, Bodhisattvas and guardian deities. The Buddha is at the core of the belief and represents the attainment of enlightenment.
Disciples rendered in the form of monks transmitted his teachings after his death. Bodhisattvas were made in the image of a secular, royal prince—having reached Buddhahood, they chose to stay in this world in order to assist those who have not.
Guardian deities look ferocious, but they avert physical enemies and internal demons. Then there are stupas, representing Nirvana. All these come together to compose the fundamental elements of Buddhist art.
Shakyamuni Buddha Gilt Bronze (青铜鎏金释迦摩尼佛坐像), Northern Wei Dynasty, Dated 477.
Avalokiteshvara Bodhisattva holding a child gilt bronze (青铜鎏金包子观音菩萨坐像), Ming Dynasty, 1368-1644.
Stupa Gilt Bronze (青铜鎏金佛塔), Ming Dynasty, 1631.
*This exhibition section overall is very interesting if you are into religious art and bronze statues across few dynasties era.
Collection of Qing Dynasty Historical Documents
Archival documents are not merely records produced by government agencies in the course of their administrative activities but also an important source of materials for the study of policy implementation and the forming of legal institutions.
Since ancient times an administrative system has existed to safeguard national archives for auditing purposes and on account of their value as reference materials. In the Records of the Grand Historian (Shiji), it is noted that King Cheng of the Western Zhou dynasty commanded his officials to store important archives in golden cabinets, indicating that the archive system in China dates back more than 3,000 years.
Successive dynasties continued the practice of preserving archives, leaving treasure troves of historical documents for posterity.
Qing Dynasty Historical Documents section showcases Qing Dynasty’s imperial decrees, official documents, palace memorials, biographies of eminent officials, and maps that were once guarded in the imperial palace and kept strictly out of bounds.
It helps to understand the development of official documentation during the Qing dynasty and also offer a glimpse into how the Qing government was administered, the secrets of court life, and the relationship between emperors and their officials, as well as the politico-economic and cultural landscapes, and the rise and fall, of the dynasty.
The Real Copy of official local governor letters to Emperor Qian Long 乾隆 and his majesty reply (in red ink).
The Royal Edict during the reign of Emperor Qian Long 乾隆 and more official governer letters to the emperor.
Qing Dynasty literature books which produced in Chinese and Manchu characters.
*This exhibition section overall is very interesting if you are into Qing Dynasty documents and art of calligraphy.
A Garland of Treasures
“A Garland of Treasures” is the title given in the Qing dynasty by the Qianlong emperor to a curio box in his collection. As the name suggests, it means a group of small but precious artefacts.
The collection of precious crafts in the National Palace Museum mostly derives from items used in daily life at the imperial court. Some were ritual objects and others diplomatic gifts.
There are accessories that were used for ceremonial purposes, while others formed part of the dress and make-up for those living in the ladies’ quarters.
The collection of precious crafts in the National Palace Museum mostly derives from items used in daily life at the imperial court. Some were ritual objects and others diplomatic gifts.
There are accessories that were used for ceremonial purposes, while others formed part of the dress and make-up for those living in the ladies’ quarters.
Some crafts were displayed in palace halls, served as curios to be appreciated at leisure, or found in the scholar’s studio. Others are also rare collectables stored in chests that were all specially designed and marvellously produced.
The materials used in this eclectic grouping of crafts often include composition combinations, being mainly gold or silver, semi-precious stone, bamboo or wood, ivory or horn, and ink or inkstone.
They are also skillfully integrated frequently with bronzes, porcelains, and jades, with many different materials often appearing together. And along with a mixture of different techniques, these objects truly reflect the diverse beauty of Chinese arts and crafts.
As for the subjects to decorate them, they often interweave auspicious patterns, folk legends, and historical allusions, being profoundly steeped in the essence of Chinese culture to create a sense of dignity, elegance, and delight in life.
*This exhibition section overall is very interesting if you are curious about the emperor and empress dressings during The Qing Dynasty.
Splendors of Ch’ing Furniture
The Furnitures is an art form combining both aesthetic with pragmatic qualities. Like the features of one’s face, once the location and features of the eyes and mouth have been established, a whole range of beauty, expression, and emotion becomes possible within a limited space.
The development of Chinese furniture reached its apex approximately between the 15th and 17th centuries. At that time, carpenters used such hardwoods as “tzu-t’an” (red sandalwood) and “huang-hua-li” (rosewood) because of their firm texture and fine grain.
Taking into consideration the taste of scholars, craftsmen designed forms and structures that emulated the graceful contours of calligraphic strokes. Hence, so-called “Ming-style furniture” gradually emerged with a simple yet elegantly succinct style along with a sense of strong charm in its graceful beauty.
Apart from incorporating some elements of Western aesthetics, relatively more emphasis was placed on meticulous decoration, as craftsmen fully utilized clever techniques of carving, inlay, painting, and appliqué to produce the desired results.
The collection of the National Palace Museum includes a set of red sandalwood furniture originating principally from the imperial residence of Prince Kung. Red sandalwood has always been valued for its hardness and density.
Though not as brilliant or beautiful as rosewood in terms of colour, red sandalwood nonetheless imparts a sense of serenity and stability. Though these pieces of furniture derive from the same source, they were not originally from the same set, the styles actually ranging from the 17th to 19th centuries.
Consulting scenes of Ch’ing dynasty life depicted in imperial paintings, various pieces of painting and calligraphy, curios, and display objects have been included here to provide a more accurate reconstruction of a room at the time.
*This exhibition section overall is very interesting if you are curious about the emperor lifestyle and art of “feng shui”.
Paintings and Calligraphy Gallery
To meet the need for recording information and ideas, unique forms of calligraphy (the art of writing) have been part of the Chinese cultural tradition through the ages.
Naturally finding applications in daily life, calligraphy still serves as a continuous link between the past and the present.
The development of calligraphy, long a subject of interest in Chinese culture, is the theme of this exhibit, which presents to the public selections from the National Palace Museum collection arranged in chronological order for a general overview.
The dynasties of the Qin (221-206 BCE) and Han (206 BCE-220 CE) represent a crucial era in the history of Chinese calligraphy.
On the one hand, diverse forms of brushed and engraved “ancient writing” and “large seal” scripts were unified into a standard type known as “small seal.” On the other hand, the process of abbreviating and adapting seal script to form a new one known as “clerical” (emerging previously in the Eastern Zhou dynasty) was finalized, thereby creating a universal script in the Han dynasty.
Since changes in writing did not take place overnight, several transitional styles and mixed scripts appeared in the chaotic post-Han period, but these transformations eventually led to established forms for brush strokes and characters.
The dynasties of the Sui (581-618) and Tang (618-907) represent another important period in Chinese calligraphy.
Unification of the country brought calligraphic styles of the north and south together as brushwork methods became increasingly complete. Starting from this time, the standard script would become the universal form through the ages.
In the Song dynasty (960-1279), the tradition of engraving model-book copies became a popular way to preserve the works of ancient masters. Song scholar-artists, however, was not satisfied with just a following tradition, for they considered calligraphy also as a means of creative and personal expression.
Revivalist calligraphers of the Yuan dynasty (1279-1368), in turning to and advocating revivalism, further developed the classical traditions of the Jin and Tang dynasties.
At the same time, notions of artistic freedom and liberation from rules in calligraphy also gained momentum, becoming a leading trend in the Ming dynasty (1368-1644).
Among the diverse manners of this period, the elegant freedom of semi-cursive script contrasts dramatically with more conservative manners. Thus, calligraphers with their own styles formed individual paths that were not overshadowed by the mainstream of the time.
Starting in the Qing dynasty (1644-1911), scholars increasingly turned to inspiration from the rich resource of ancient works inscribed with seal and clerical script.
Influenced by an atmosphere of closely studying these antiquities, Qing scholars became familiar with stele and helped create a trend in calligraphy that complemented the Modelbook school.
Thus, the Stele school formed yet another link between past and present in its approach to tradition, in which seal and clerical script became sources of innovation in Chinese calligraphy.
*This exhibition section overall is very educative if you are interested in ancient calligraphy and paintings.
The Magic of Kneaded Clay
Ceramics Collection is a sign of civilization. From processing the clay, shaping the forms, applying the glazes to firing the products in kilns, raw materials go through many changes as soft clay becomes durable ceramic.
The forms, glazes and decorative patterns on ceramics are diverse and varied due to their being created under different cultural and social conditions. Emperors, officials, potters and users of ceramics all contributed to the formation of various period styles in China.
What is attractive about ceramics is that it echoes and records the long course of history, the network development of kilns also reflecting the phenomenon of cross-cultural interactions that took place over time.
The exhibition is divided into four sections: “Neolithic Age to the Five Dynasties,” “Song to Yuan Dynasties,” “Ming Dynasty,” and “Qing Dynasty”. ”
“Neolithic Age to the Five Dynasties” represents a long period of time when ceramics evolved from primitive beginnings to a more sophisticated stage.
Using the perspective of daily aesthetics, “Song to Yuan Dynasties” explores the decorations and beauty of various wares from different kilns.
The “Ming Dynasty” section theme narrates the establishment of the Jingdezhen imperial kilns, as porcelain production became a state affair and local civilian kilns competed for market share.
The “Qing Dynasty” section shows how three emperors, Kangxi, Yongzheng, and Qianlong, personally gave orders for the imperial kilns, the influence of official models reaching a peak at that time. As the dynasty began to decline, the styles of folk art began to creep into late Qing imperial wares.
Ceramics is a testimony to the realm of human activities. Apart from allowing visitors to grasp an idea of how Chinese ceramics developed, it is also hoped that the exhibition will generate more interaction and feedback so that this historical collection can continue to inspire new ideas.
*This exhibition section overall is very interesting if you are interested in the development of Chinese ceramics across few eras.
Treasures in the National Palace Museum (The Main Event)
From Level 3 onwards showcases only National Palace Museum most valuable and priceless artwork; Meat-Shaped Stone and Jadeite Cabbage from Qing Dynasty.
This is the main event for the National Palace Museum which you must witness with your very own eyes to tell the tale! 😉
The Meat-Shaped Stone What look tantalizing similar to a tender piece of mouth-watering braised pork belly is actually a hard mineral known as Banded Jasper. This mineral naturally appears with layers that, in this case, can suggest those of fat and meat in a piece of pork.
The craftsman utilizes this feature to stain the layers from the top to bottom with darker to lighter shades of brown, respectively, giving the effect of fatty meat stewed in soy sauce.
Even more remarkable is that he created many dimples on the upper surface to mimic the hair follicles to pork skin, making this tough mineral look even more like a piece of stewed DongPo pork which just scooped from the pot, the tender surface with a gelatinous quality.
Jadeite Cabbage This carving of Bok Choi cabbage in Jadeite is the most popular piece in National Palace Museum. The craftsman followed the natural colour of the jadeite to turn the green part into the leafy area and the white one into the stems.
Despite the cracks and impurities in the white parts, they were skillfully adapted by the craftsman and turned into a freshly cut stalk.
At the top of the jadeite cabbage leaves are a katydid and locust, which instantaneously turns this vegetable into a lively rustic scene.
This piece originally was a part of a beautiful potted decoration at the Qing court, in which the jadeite was placed upright in an enamelled planter and at the bottom was accompanied by a wood carving of spirit fungus – symbols of longevity and auspiciousness.
*Interested in these two pieces of artwork? You are now able to buy 1 x 1 replicas at any stores inside the National Palace Museum.
The Masterpieces of Jade
Jade, cool and hard to touch, yet gracefully beautiful and tenderly warm to look at, is the most constant element that withstands time and a culturally rich object that more than anything else holds the deep feeling and profound thinking of the Chinese people.
As far back as over seven thousand years ago, our forebears had learned from the toil of life such as digging and logging that “jade” was a stone of beauty and eternity.
With a glistening sheen just like the springtime sunshine, believed to be high in jinqi(vital force or energy), this beautiful jade was fashioned after the concept of yin and yang into round bi discs and square congtubes, and marked with deistic and ancestral images as well as “encoded” symbols.
A power of “affinity” born of “artefacts imitating nature”, so they hoped, would enable dialogues with the Supreme God, who imparted life through mythical divine creatures and thus created humans. Out of this early animistic belief, came the unique Dragon-and-Phoenix culture of China.
During the Six Dynasties and the Sui-Tang era, consecutive waves of foreign influences arrived and impacted the Chinese jade art significantly.
Free from either spiritual or Confucian undertones of jade, newly formed literati class in Song and Yuan dynasties was keen on both nature and humans; their art was in quest of verisimilitude and ultimately truth.
Along with realism, however, archaism existed in support of political orthodoxy, popularizing antiquarian styles for jades. Jade carving exemplified the quintessence of Song and Yuan culture.
Arts and crafts developed into an age of sophistication in Ming and Qing dynasties. Starting in mid-Ming, the region south of the Yangzi River enjoyed great economic prosperity; jade carvings became ever finer and more elegant under the patronage of literati and rich merchants.
In the 2nd half of the 18th century, the conquest of the West Territory further gave the Qing court direct access to and control of the Khotan nephrite mines; jadeite also started to come in from Myanmar with the active development by Qin in the southwestern region. Driven by the imperial house’s taste, jade carving experienced an unprecedented thriving period.
Throughout the nearly eight-millennium development, jade carvings have first embodied the Chinese ethic of religion that was in awe of heaven and in reverence of ancestors.
Then art in pursuit of verisimilitude in both form and spirit peaked after medieval China, manifesting the academic heritage of Chinese scholars in seeking the intrinsic nature of things.
The two concepts jointly attest to our national character as well as the deepest and most profound connotation of the ancient Chinese jades, the art in quest of heaven and truth.
*This exhibition section is overall exciting if you are into the art of jade and journey to discover the secret of “Longevity”.
Hi-Tea in National Palace Museum
Feeling hungry and in need of some refreshments during the visit to National Palace Museum? Fret not, the cafeteria is offering the best dessert and beverage in town which will definitely melt your heart!
Although the price is a bit over average but still highly recommend to try it out especially their dessert series (tastes like being made by some professional patisserie)! 😉
The Bubble Cafe Latte (smooth and creamy latte with chewy bubble combination) which only available in the National Palace Museum is also the hot selling item in the cafeteria, do remember to grab one firsthand during your visit to the museum since it sells very fast!
Things to know before the visit:
- Museum staff recommend visiting the museum on Friday and Saturday evenings for a less crowded experience and note that Monday is also less busy than other days.
- The museum has strict rules regarding photography (can take photos but no flashlight). Lockers are available for rental outside the main entrance inside the lobby to the right side.
- Personal audio tours with headphones are available for rental in English, Mandarin Chinese (華話), Korean (한국어), and Japanese (日本語).
- B1 is designated for organising mainland Chinese tour groups, and individual travellers will find nothing of interest except for the children’s museum.
The admission fees for National Palace Museum:
Single Adult
- NT$250 (admission ticket includes Zhishan Garden and Shung Ye Museum)
Student with ID
- NT$150
*Highly recommended taking a short stroll at ZhiShan Garden right after enjoying the treasures of the National Palace Museum (which is located nearby only).
Direction Guide:
From Taipei Metro System (MRT) to Bus :
- From MRT Red Line (RL) Shilin station (士林), walk outside the station and board Bus R30 (紅30), fare NT$15, payable by cash or Easycard.
- Bus BR20 (棕20) also travels from the museum to Brown Line 1 Dazhi station, however, Shilin is recommended for speed and convenience.
- Busses generally leave every 30 mins on weekdays until 7 PM and 15 MINS on weekends until 6:55 PM.
- Additional buses are available after hours on Friday and Saturday evenings.
Tips: To visit Shilin Night Market after the museum, take Bus R30 (紅30) back to the city, but stay on after MRT Shilin until the night market (MRT Jiantan)
Address: No.221, Sec. 2, Zhishan Rd., Shilin Dist., Taipei City, Taiwan.
Contact: +886-2-6610-3600
Open Hour: 08.30 am – 06.30 pm (Mon-Sun)
National Palace Museum Official Website
